Arnolfini, 16 Narrow Quay, Bristol BS1 4QA

Emma Smith: 5HZ

 Emma Smith: 5Hz, 2015

The evolution of language was originally believed to have a social function rather than an informational one and lends itself freely to song. Review by Rory Duckhouse

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Kunstraum, Gorsuch Street, London E2 8HD

Unlearning to speak

NaturallySpeaking

Unlearning to speak brings together an assemblage of works that choose to disregard their communicative responsibilities in an attempt to probe language. Review by Letitia Calin

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Mercer Union, a centre for contemporary art, 1286 Bloor Street West, Toronto M6H 1N9

Krista Belle Stewart: Seraphine, Seraphine

Krista Belle Stewart, Seraphine, Seraphine, 2015

Complex issues surrounding the misty ‘truths’ of the documentary genre, the confrontation of uncomfortable national histories and more intimate family pasts are raised in Krista Belle Stewart’s current installation at Mercer Union. Review by Rebecca Travis

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White Rainbow, 47 Mortimer Street, London W1W 8HJ

Chu Enoki: Enoki Chu

Installation view at White Rainbow

William Davie reviews a new exhibition of highly political and sometimes playful sculptures, drawings and photographs by Chu Enoki.

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Waterside Contemporary, 2 Clunbury Street, London N1 6TT

Nikita Kadan: Limits of Responsibility

Installation view, Limits of Responsibility

Limits of Responsibility is a carefully considered formal exploration of a contemporary political crisis that brings forth questions about how far political activism can intervene in the art world. The exhibition is reviewed by Zoë Marden.

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narrative projects, 110 New Cavendish Street London, Fitzrovia W1W 6XR

Rachel Lowe

Landscape (Dead Horse)

Rachel Lowe’s process relies on a reformation of found imagery from a variety of sources and past moments. The cut or the tear intimates a breaking of the source away from its temporal inscription. Joseph Constable reviews her solo exhibition.

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Pippy Houldsworth, 6 Heddon Street, London W1B 4BT

Tania Kovats: Watermark

Installation view, Watermark

Kovats explores in ‘Watermark’ the liquid element in its multitude of textures, impressions and geological implications. Review by Emilie Cloos

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Eastside Projects Off-site at Ithuba Art Gallery, Johannesburg

Stuart Whipps: Photo Colour Services

Photo Colour Services, Installation View

Photo Colour Services was a professional photographic lab housed on the 9th floor of Old Arcade in Johannesburg’s central business district. It ceased trading in 1996. Since 2007, Whipps has taken this redundant lab as the starting point for his project, encompassing exhibitions, workshops and a publication.

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Es Baluard Museu d'Art Modern i Contemporani de Palma, Plaça Porta de Santa Catalina 10, Palma 07012

La Mer au Milleu des Terres // Mare Medi Terraneum

La Mer au Milleu des Terres // Mare Medi Terraneum, Installation View

Cécile Bourne-Farrell's curatorial project at Es Baluard is a unique investigation into the political radius of the Mediterranean territories. Review by Kathryn Lloyd.

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Focal Point Gallery

Paul Johnson in conversation with Timothy Morton, Focal Point Gallery 21 March 2015

Timothy Morton is Professor and Rita Shea Guffey Chair in English at Rice University, Texas. A member of the object-oriented philosophy movement, Morton’s work explores the intersection of object-oriented thought and ecological studies. He coined the term ‘Hyperobjects’, to explain objects so massively distributed in time and space as to transcend localisation, such as climate change and styrofoam.

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BALTIC Centre for Contemporary Art, Gateshead Quays, South Shore Road, Gateshead NE8 3BA

Jesse Wine: Young man red

Jesse Wine, Young man red II, 2014

Jesse Wine's solo exhibition 'Young man red' presents a day in the life of the artist, like a series of ceramic Instagram posts. Review by Michael Mulvihill

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International Fine Arts Consortium (IFAC), New York

Artist Interview: James Joseph

James Joseph: Gizmo (706), 2015

Rusty Van Riper interviews artist James Joseph about his artworks shown at the exhibition 'PROCESS: Readdressing Infinite Ways of Seeing' held at the IFAC, New York and the direction of his new work.

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White Cube Bermondsey, 144 – 152 Bermondsey Street, London SE1 3TQ

Christian Marclay

Installation view, solo exhibition, White Cube Bermondsey

In this major solo show, Christian Marclay’s intention is to close the gaps between moments of looking and listening, or indeed being looked at or listened to. The exhibition is reviewed by Joseph Constable.

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